Wade Guyton, U Sculpture (v. 6), 2007. Mirrored stainless steel 24 x 22 x 53 ½ in. (61.5 x 55.9 x 136.1 cm). Artist proof, Edition of 3, 1 AP. Collection of the artist. ©Wade Guyton. Photograph by Ron Amstutz.
from the editor
The idea of fall is in the air. I say idea because from where I sit summer remains stubbornly locked in place. Two events thousands of miles away from one another made for some striking contrasts over the past few weeks of October. The first was the 2012 Creative Time Summit: Confronting Inequity, which took place at NYU’s Skirball Center for the Performing Arts but was graciously livestreamed for those unable to attend. The presentations are currently available online and for this reason amongst many others, the summit is our Recommends for this issue. I won’t spoil the recommendation but will say how refreshing it was to hear artists, curators, theorists and activists engaged in an unflinching, complex and open conversation about the many difficult issues facing our world. Art is a powerful vehicle for this type of dialogue. On the other end of the spectrum, or perhaps on another spectrum all together, was the Texas Contemporary Art Fair held in Houston’s George R. Brown Convention Center. I’m always struck by how much art fairs manage to feel the same in every place. In a general sense once you’ve seen one, you’ve likely seen them all–plus or minus a few palm trees, piers, and familiar faces.
Thinking through the intersections and distinctions between regional, national and international art scenes through our coverage has been high on my list of priorities for ...might be good since I took the helm. Collaboration with writers and artists, established and up-and-coming, is at the heart of what we do here and this issue is no different. Our Long Read this issue comes from New York-based writer and curator Clara Halpern who approaches painter Amy Sillman’s recent collaborations with poets Lisa Robertson and Charles Bernstein. These projects expand notions of painting (the nearly 2000 images by Sillman that make up Pinky's Rule were created with her pinky on an iPhone), engage with poetry and humor, while maintaining the key concerns fundamental to Sillman’s practice. ‘Painting by other means’ is also the subtext of writer Brian Fee’s review of Wade Guyton OS at the Whitney Museum of American Art in New York. Guyton hands over mark-making to software and an Epson 9600 printer in-order to create work that underscores and problematizes the relationship between image-making technology and the human pushing its buttons. On the West Coast The Torrance Museum of Artis currently host to XYZ: The Geometric Impulse in Abstract Art curated by artists Jessica Halonen and Emily Joyce. Los Angeles resident, artist, writer and ...mbg Production Associate Emily Ng writes thoughtfully about the ins and outs of the exhibition and what it says about artists who are grappling with abstraction today.
The technical facets of making an image for the movie screen is the jumping off point for artist Lucy Raven’s current project at the Hammer Museum in Los Angeles. Writer Catherine Wagley tackles Raven’s exhibition and her interest in the things that are going on behind the scenes, finding engaging and relevant correlations to the work of Gordon Matta-Clark, Hans Haacke, and Michael Asher. Collecting, archiving and recontextualizing objects through their transformation into sculpture and an exhibition is at the core of Austin and New York-based artist Andy Coolquitt’s Attainable Excellencecurrently on view at AMOA-Arthouse. Writer and artist Jessica Mathews lends her thoughts on Coolquitt’s exhibition which will make its way to Houston’s recently renovated Blaffer Art Museum next May.
As you’re thinking about abstraction, collecting or what movie to watch this weekend drop us a line at: firstname.lastname@example.org and let us know your thoughts. We’d love to hear from you! Stay tuned for our 200th issue coming up in two-weeks!
Eric Zimmerman is an artist and Editor of ...might be good.